In its first beginnings, notwithstanding, the Italian drama was as national as any other. As with all other modern European dramas, its origin was religious. Christianity found the need of replacing the heathen shows and spectacles it had suppressed, and amused the people with representations of Scriptural subjects, or of incidents in the lives of the saints. For centuries these were never written down, but improvised or exhibited in dumb show. Gradually the miracle-play came into being, a more advanced development, compelling learning by rote and much drilling of the performers, and therefore of necessity committed to writing. In Italy this assumed a more polished form than elsewhere, the _Rappresentazione Sacra_, rude in construction, but composed frequently in elegant, sometimes in excellent octave verse. This was a development of the fifteenth century, the earliest of which the date is known being the _Abraham and Isaac_ of Feo Belcari, 1449. It became exceedingly popular in the later part of the century, especially at Florence. No less distinguished a person than Lorenzo de’ Medici is enumerated among its authors. Numbers of such pieces were printed, down even to the end of the seventeenth century, and usually set off with wood-engravings, sometimes of great elegance. The materials were usually drawn from ecclesiastical legend. Constantine is represented as giving his daughter to his successful general Gallicanus, on condition of his becoming a Christian. Julian, marching to wage war with the Persians, is slain by an invisible saint. The histories of Tobit, of St. Agnes, of St. Cecilia, and numbers of similar legends, form the staple subjects. Sometimes romance is laid under contribution, as in the instance of the Emperor Octavian, but always with a religious motive. Dramatic force does not seem to have been much considered, the stately octave being better adapted for declamation than for dialogue; but the stage directions are very precise, and every effort seems to have been made to impress the spectators, so far as permitted by the rudeness of the open-air theatre, a mere scaffold with perhaps a curtain for a background, yet often very splendidly decorated.